This work opens with "Qui suis-je? du Théâtre Antique," introducing a mezzo-soprano commentator. One character in this opera complains about his charges in "Moi, je suis Aristée," which contains optional falsetto notes, and later offers the solemn reflection "La mort m'apparaît souriante." That man's servant constantly bitches about no longer being king of the Boetians after the central female character discovers that her sheep-tending lover (*) Aristee is actually the master of John Styx. This opera's title character disrupts a feast of the gods at the goading of Public Opinion despite the fact that both he and his wife absolutely hate each other. A lightning bolt startles the hell out of that title figure after th
This work opens with "Qui suis-je? du Théâtre Antique," introducing a mezzo-soprano commentator. One character in this opera complains about his charges in "Moi, je suis Aristée," which contains optional falsetto notes, and later offers the solemn reflection "La mort m'apparaît souriante." That man's servant constantly bitches about no longer being king of the Boetians after the central female character discovers that her sheep-tending lover (*) Aristee is actually the master of John Styx. This opera's title character disrupts a feast of the gods at the goading of Public Opinion despite the fact that both he and his wife absolutely hate each other. A lightning bolt startles the hell out of that title figure after the famed "Galop Infernal," parodying a Gluck work in which he fatefully looks back at Eurydice. Famously featuring music for the can-can, for 10 points, name this Jacques Offenbach opera about a Greek Musician in Hades.
This work opens with "Qui suis-je? du Théâtre Antique," introducing a mezzo-soprano commentator.
{Orpheus} in the {Underworld} [or {Orphée aux enfers}]